Media mogul Oprah Winfrey and veteran actress Cicely Tyson have been appointed godmothers to Tyler Perry's baby boy. The Gone Girl actor and his girlfriend Gelila Bekele held a christening for little Aman Tyler Perry on Sunday (15Feb15), when Winfrey shared photos of herself with Tyson and event performers Yolanda Adams and Jennifer Hudson on Instagram.
On Monday (16Feb15), the proud father shared snaps of the christening's programme on Facebook.com, revealing Winfrey and Tyson were more than just guests at the religious ceremony, which Perry reveals was held in a specially-built church at his Beverly Hills, California home.
The two stars are listed as godmothers in the programme, while his friend Oliver Ripley has been named the tot's godfather.
Sharing an image of Winfrey posing beside a pool decorated with the baby's name, Perry writes, "What a special day. Thank you Oprah, Oliver, and Cicely. I know my son has great Godparents. To be born in love is a beautiful thing."
The filmmaker also uploaded photos of the church, captioning the snaps, "These pictures are from our son's christening yesterday. Christening him in the gospel. I had this church built in my backyard. It's almost a direct replica of the one my Mother grew up in. It was in her honor. I know she was with us in spirit. Thank you to all our family and friends for joining us."

Hollywood actress Naomi Watts is to be honoured for her onscreen fashion sense with a special prize from the Costume Designers Guild. The King Kong star will be presented with the Lacoste Spotlight Award at the 2015 Costume Designers Guild Awards (CDGAs), while her latest film Birdman will compete for the Excellence in Contemporary Film honour.
The Spotlight Award is handed to an actor who has a "special awareness of the role and importance of costume design" and Watts follows in the footsteps of Amy Adams, Anne Hathaway, Kate Beckinsale and Halle Berry, who are all previous recipients.
Other honorary prizes will be dished out to Boyhood director Richard Linklater and costume designer Aggie Guerard Rodgers during the ceremony at the Beverly Hilton Hotel in Los Angeles on 17 February (15).

Rocker Ryan Adams performed for newlyweds Cameron Diaz and Benji Madden as the couple exchanged vows at its home in Beverly Hills on Monday night (05Jan15). Adams serenaded the new Mr. and Mrs. Madden while Madden's twin brother Joel served as best man, and reportedly dropped the ring during the ceremony.
Guests included Drew Barrymore, Gwyneth Paltrow and Reese Witherspoon, while film executive Jeffrey Katzenberg saluted the couple to conclude the wedding ceremony.
Diaz and Madden began dating early last summer (14), and news of their engagement started swirling in early December (14).

He’s one of the biggest names in Hollywood, but Christian Bale has always been somewhat of a mystery. Hell, we didn’t even realize he had a British accent until a few years ago! He commits so fully to his characters that we felt it was only right to commit to digging up facts on this transformative actor. Some you may know already, others might come as a surprise.
1. He was born in Wales, but he’s technically English.
Getty Images/Ian Gavan
But to make things even more confusing, he'll sometimes do interviews in an American accent if he's playing an American character.
2. He was the first non-American to portray Batman.
Warner Bros via Everett Collection
3. He met his wife, Sibi Blazic, through his Little Women co-star Winona Ryder.
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Blazic was Ryder’s personal assistant.
4. He's an expert at losing and gaining weight.
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Bale transforms for his roles. He infamously lost 63 pounds (yikes) for his role in The Machinist , and gained 43 pounds for his role in American Hustle.
5. He worked with David O. Russell and Amy Adams twice – in both The Fighter and American Hustle.
Paramount Pictures via Everett Collection
6. He was in Newsies.
Buena Vista Pictures
He sang! He danced! He was an adorable teenager!
7. He was originally cast to play George W. Bush in the movie W., but dropped out and was replaced by Josh Brolin.
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8. He has a kind heart.
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Following a 2012 shooting at an Aurora, Colorado movie theater during a showing of The Dark Knight Rises, Bale visited survivors in the hospital.
9. He also has a bit of a temper.
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A recording of his tirade on the set of Terminator: Salvation was released – and remixed – in 2009. He apologized for it, though.
10. He was almost replaced by Leonardo DiCaprio in American Psycho.
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Leo dropped out to star in The Beach. We'd say things worked out in favor of Bale.
11. He partially shaved his head to get an authentic-looking combover in American Hustle.
Columbia Pictures via Everett Collection
Now that's dedication!
12. His dad, David Bale, was married to feminist Gloria Steinem from 2000 until his death in 2003.
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13. At age 12, Bale beat out more than 4,000 child actors for the starring role in Empire of the Sun.
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His performance won him the first ever "Best Performance by a Juvenile Actor" award from the National Board of Review.
14. He was just cast to play Steve Jobs.
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He's set to star in the Danny Boyle-directed film Jobs (not to be confused with the Ashton Kutcher flick of the same name). Seth Rogen just signed on to play Apple co-founder Steve Wozniak.
15. He bears a striking resemblence to Kermit the Frog.
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We blame the Internet for this one.
Hopefully we made this private actor just a little more knowable.
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Know any other Christian Bale facts? Tweet us and tell all of them!
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The world lost one of its greatest actors this week. Many of us grew up with Robin Williams as a firm presence in our lives that could make us laugh. He brought our families together every time we sat down to watch one of his films. He was the voice of Genie in Aladdin. He brought a board game to life in Jumanji. He was an inspiration in Dead Poet’s Society. Every role he portrayed, he encompassed that character so passionately, it’s hard to believe one man could be so versatile. In no way is this list comprehensive, because William’s career was so magnanimous, it cannot be broken down into which films were his best. He was a legend, with such a gift that all of his roles could be argued to be his best.
1. Mork, Mork and Mindy
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An alien comes to earth to study its inhabitants. The plot is absolutely out there, but Robin Williams embraces this character wholeheartedly in this Happy Days spinoff. He brings Mork to life in a quirky, sweet way that we will see more of during his career. This television role was one of his first big exposures to an audience and he was well received.
2. Popeye, Popeye
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Popeye is one of the first forays where viewers got to see Williams carrying different voices and traits using physical comedy to deliver them. He embodied this classic sailor so realistically, you could see it in the way that he walked and the way that he talked. Even his facial expressions were so meticulously detailed, you couldn’t second guess this casting choice. Williams was Popeye.
3. Adrian Cronauer, Good Morning, Vietnam
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A movie set in Saigon, 1965, during the Vietnam War, Williams plays a radio DJ on Armed Forces Radio Service, who is wildly popular with the troops, but not his superiors. It’s a story loosely based on the experiences of AFRS radio DJ Adrian Cronauer. What made this film a genuine Robin Williams piece was his take on the character. Almost all of his radio broadcasts were ad-libbed. Like this amazing bit, “Goooooooooood-byyyyeeeeee Vietnaaaaaam! That’s right, I’m history…I’m outta here! I got the lucky ticket home, baby. Rollin, rollin, rollin’…keep them wagons rollin’, rawhide!”
4. John Keating, Dead Poets Society
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A film set at the conservative Welton Academy in 1959, John Keating is a teacher that inspires his otherwise uninterested students with the use of poetry. Unlike earlier roles, such as Mork or Popeye, Williams didn’t use physical comedy to take up the screen. His passion, which viewers could see in every role he took on, was what carried this film. His delivery truly made us want to seize the day, because he was so believable in that philosophy. He made us want to stand up on our desks and chant, “O’ captain, my captain!:"
5. Dr. Malcolm Sayer, Awakenings
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While Awakenings certainly was not Williams’s first serious role, this film sticks out more because of his chemistry with those around him. William’s plays Dr. Malcolm Sayer, based on real-life British neurologist Oliver Sacks. In 1969, Sayer discovers beneficial effects of the new drug, L-Dopa, which he administers to his catatonic patients. It’s incredible to watch Williams take on this character, who is so invested in his patient’s health and quality of life, that it’s heartwarming to watch.
6. Peter Pan/Peter Banning, Hook
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Only an actor as talented and candid as Williams could manage to handle playing a grown-up Peter Pan. We’re introduced to Peter, a lawyer who is drifting from his wife and children because of his dedication to his work. It’s a wonderful display of character development to watch Peter, who has forgotten his childhood, something he never wanted to let go of, reclaim his youth and learn about life’s biggest adventures.
7. Leslie Zevo, Toys
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Toys wasn’t big at the box office, despite producing a world-class cast. Williams plays the son of a toy manufacture that falls ill and leaves the company to his uncle, a military man with no interest in building toys. Williams’s character Leslie is appalled when his uncle begins manufacturing war toys. As a child watching this movie, it was so engaging to watch Williams, who might not have seemed responsible enough to handle the company, take action to save it. He’s passionate, silly, and the unsung hero we wanted to succeed.
8. Genie, Aladdin
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In Aladdin, William’s is the genie that the title character stumbles upon. Williams was able to take this 2-dimensial character and make him larger than life. He stole every scene he was in, making him the most memorable character from the film (sorry Aladdin and Jasmine). He was completely right, we’ve never had a friend like him.
9. Daniel Hillard/Mrs. Doubtfire, Mrs. Doubtfire
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After a bitter divorce, Daniel Hillard, a talented, but jobless voice actor, is determined to still spend time with his kids. When he finds out his ex-wife is going to hire a housekeeper to help with the children, he uses his skills to pretend to be a Scottish nanny. You only need to see this movie once to remember what Williams sounded like as Mrs. Doubtfire, “Hellooo!”What could have been a ridiculous excuse at dressing up in drag, is actually a very humorous movie that touches on what the life of both parents, and children, are like in a divorce.
10. Alan Parrish, Jumanji
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Of all of William’s work, Jumanji has remained my personal favorite. The story of a boy, sucked into a board game, sounded like a plot only children could enjoy. But, as an adult, it’s more rewarding to watch Williams return to his world, years after being stuck in the jungle of the game, and have him grappling with issues we all do. Unlike some of his other work, Alan Parrish is not boisterous character that William’s could use his wild antics to portray. It’s almost like watching Robin Williams’s growing up, seeing him act like a child in an adult’s body while slowly maturing and realizing what he is responsible for.
11. Armand Goldman, The Birdcage
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The American take on La Cage aux Folles, features Williams playing a gay man, pretending to be straight for the sake of his son’s engagement. Nathan Lane gets the flashier of the two roles in this movie, but it’s impossible to not acknowledge Williams’s straight-laced performance in this piece.
12. Jack Powell, Jack
Buena Vista Pictures
Jack is a boy who ages 4x faster than the average kid, so at 10 he looks like is physically 40. A mix between comedy and melodrama, this idea sounds as bad out loud as it does on paper. But Williams manages to endear us in a way only he seems capable of, showing us the trouble Jack faces with a sweet earnestly that made viewers love this film, even if critics did not.
13. Professor Philip Brainard, Flubber
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Flubber is a movie meant for children, but easily enjoyed by parents as well because of Williams. He plays the absent-minded Professor Philip Brainard, who discovers flubber. Critically, it was not his best film, by a long shot, but William’s personality matches the super-bouncy substance of Flubber, without letting the CGI-created element take over the film.
14. Sean Maguire, Good Will Hunting
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Williams showed us he had the ability to combine tough love with a no nonsense kind of attitude. As psychologist Sean Maguire, he was able to help lead a brilliant man the right direction in his life. Williams ability to provide raw emotions is what landed him his first, and only, Oscar win (though he’s deserved the accolade countless times over his career).
15. Patch Adams, Patch Adams
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After committing himself to a mental institution, Patch Adams finds a purpose in life and applies to medical school. The film follows as Williams fights to make connections with his patients, using laughter as a form of healing. As viewers, we got to see William’s dedication to the belief that laughter is one of the best forms of medicine.
16. Andrew Martin, Bicentennial Man
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A sci-fi film where Williams portrays a robot, this movie held a lot of promise. It gets muddled down with semantics and plots too focused on scientific aspects of extended life, but Williams’s heart as a robot searching for humanity is what kept this movie afloat.
17. Seymour Parrish, One Hour Photo
20th Century Fox Film via Everett Collection
For those of us who were so used to Williams’ legendary comedic roles, it was jarring to watch a film like One Hour Photo. Seymour Parrish was not your usual over-the-top Williams performance. It’s chilling to watch an almost unrecognizable Williams, bleached blonde and tight-lipped, transform into this obsessive human being, fixated on the perfect family and life. This film is a testament to Williams acting range.
18. Bob Munro, RV
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As Bob Munro, younger viewers got a sense for what it would be like if Robin William’s was really your dad. We all might have loved Mrs. Doubtfire, but realistically, your dad isn’t going to dress up and be your new nanny. This portrayal, so simple and silly, is what highlights that Robin Williams was quite obviously a dad, and like other fathers, has traits that everyone can attach themselves to and love him for.
19. Ramon/Lovelace, Happy Feet &amp; Happy Feet 2
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It’s a movie about talking – and dancing and singing – penguins, why wouldn’t Robin Williams be in it? Let alone, why wouldn’t he voice 2 important characters? As Lovelace, Williams practically jumps off the screen at viewers, as a hilariously fat, wise older penguin with a penchantspouting wisdoms that actually make no sense. It’s entirely believable, not surprisingly, that if Robin Williams had been a penguin, that would be him. On the other hand, Ramon highlights Williams's ability to nail an accent, and become a smooth talking penguin.
20. Maxwell “Wizard” Wallace, August Rush
Warner Bros. Pictures via Everett Collection
It’s strange seeing Williams as one of the bad guys, but he pulls off the part so well. As the “Wizard,” he takes in vagrant, homeless children with a gift for music and pawns them off as street performers. When one of his children finds a musical prodigy, he immediately begins to work with him and sees him as an opportunity for money, trying to promote him to different clubs. It’s a bit refreshing to get a sense of Williams’s funny attitude, but not have him be the hero in this. You know an actor is talented when you love them, but you’re rooting against them the entire time.
21. Teddy Roosevelt, Night at the Museum, Night At The Museum: Battle of the Smithsonian, and Night at the Museum: Secret of the Tomb (To be released later this year)
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One of his most successful films financially, this is also one of his more silly ones. It holds the classic Williams’s trait is to make it silly enough to make you laugh, but not so silly that it becomes nonsensical. Williams plays a statue of Teddy Roosevelt, yes the 26th President of the United States of America, that comes to life at night to protect the museum he is in. Williams’s demeanor captures us as an audience, making us love him and the famous president, as well his back and forth banter with co-star Ben Stiller.
There are so many more films and television appearances that were all remarkable. He was an actor that was completely unparalleled in his style, talent, and passion. He cannot be replaced, and no one would ever dare try that, but he can be remembered by all the wonderful things that he has said and done. He will truly be missed, by those of us who fell in love with him as Alan Parrish in Jumanji, or those of us who were around to first witness him as Mork on Mork and Mindy. May we never forget his immense talent and all the adventures he took us on.
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Getty Images/Vera Anderson
I was humming a tune from Robert Altman's Popeye, a terribly underrated feat of Robin Williams' comedy (and his first cinematic role), when I read the news of the actor's passing. Hastily, I diverted attention to the public sphere, rushing through the social media posts of friends, colleagues, and strangers, hoping for a taste of which Williams roles most touched the lives of each and every individual vocalizing grief. I knew there would be no shortage of reference to Williams' dramatic work — his Good Will Huntings and Dead Poets Societys — but of course my expectation was to find the principal focus on his comedy. More than an actor was Williams a comedian, whether he be playing on stage, on television, or on the big screen.
So it was an especially jarring turn to discover, when I launched back from the tributes to ingest more information, just how Williams died: authorities had begun calling the incident a suicide. Only for a moment, though, was I so rattled in surprise. Williams' endeavors with rehab for drugs and alcohol, both this summer and earlier on in the 2000s, were no secret. But more significant than this is the fact that nobody is or isn't "the type" to take his own life; nobody should be a more surprising victim of suicide than anybody else. Stigmas to the contrary are a large part of why depression is such a treacherous epidemic in our world and country.
Upon learning of Williams' death, some are bound to consider the dichotomy between the man we knew — the one who'd dress in drag and howl in a Scottish accent, who'd roar through the radio waves of the Pacific Rim — and the man in earnest. Some might doubt that the Williams we met as Mork, loved as Patch Adams, played with as Alan Parrish, and wished upon as the Genie, was anything whatsoever real. Anything more than "for the cameras."
It certaintly was. It was a Williams for us. From him.
Upon perusing Facebook and Twitter and speaking with friends, I found something you don't often see when a beloved actor dies: variety. Every other voice had a different Williams role to celebrate, ranging from the wacky Aladdin, the sweet and schmaltzy Hook, the stern and sincere The Birdcage, the dark and severe Insomnia, and the esoteric The Fisher King. The constants were affection and familiarity. More than a few folks who grew up in the '80s and '90s likened Williams to a distant family member, or even a surrogate father. Clearly, the man had fostered an incredibly, unprecedentedly intimate presence with a generation of film and television watchers.
And each of those "types" of Williams is just as valid as the next. As such, the "type" of Williams we — the public — all collectively know is as valid, as palpable, as real as anything that he might be beyond the limelight.
A friend of mine expressed consternation over the proper decorum in situations like these: is it tacky to expose your grief for a passing friend whom you've never met, who never knew you? It doesn't seem to be — although it would be tacky to presume that I know anything of what Williams might or could or should want, we can rest assured that he brought his talents, his hobbies, his self into the world in the way he did in the hopes of making us laugh. Few comedians, and even fewer actors, of our generation could be deemed so potently invested in the happiness and enjoyment of their audiences. In every one of his movies, Williams was giving us a very big, powerful, important part of him. That, and all the laughter that came with it, was for us. So it doesn't seem all that off base to think that we couldn't share every feeling of love and sorrow we might have about him.
Finally, we return to the question of authenticity — what about the man behind the laughter? The man so stricken with pain? The "real" Williams?
That's where the danger comes in: the thought that only the morose can be depressed, that anyone so capable of earning a laugh must be riding a permanent cloud nine. That Williams' humor was the result of a chemical reaction with celluloid, and would dissipate immediately upon production wrap. Williams, like many depressed men and women, was a man who liked to, maybe even lived to, joke. A man who could command any room, nail any impression, or knock out any punchline. Granted, Williams can probably do this a lot better than the vast majority of folks out there, depressed or otherwise. But he's not a unique breed. There is no discernible breed. Depression and the turmoils that come with it can inflict anyone: the funny, the mopey, the angry, the brawny, the silly, the sensitive. From your Sean Maguires to your Daniel Hillards.
It often takes a stride to learn that the depression living within any of these people can be real. And for those who suffer with the disease, it is just as difficult, if not more so, to understand that the rest of you — the funny, the sweet, the strong, the "Seize the day!", the "Beee yourself!", the "Hellooo!" — is, too, very much real. No matter which side of the equation you might be on, you have one more lesson here to learn from John Keating:
We did know the real Williams. We just didn't know every part of the real Williams. We might not have known the real pains, the tragedies that too many people face alone and don't have to. But we knew something just as real: his ability and his drive — no, his insistence — to make the world laugh. And yes, he made the world cry plenty. When he battled for a soul in Bicentennial Man or delivered special peace to a hospital of sick children in Patch Adams or dragged Matt Damon out of his own carnivorous guilt in Good Will Hunting, he made us cry. But the Williams that made us laugh... the one who splashed his face with pie frosting, babbled around Sweethaven in a feverish stupor, and doled out life lessons to a wannabe prince via obscenely anachronistic pop culture references... well, that's my real Williams. And he's just as real as anybody else's.
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Columbia Pictures via Everett Collection
"Who you gonna call?" If you had shouted that anywhere in the country during the summer of 1984, a multitude of voices would've screamed "Ghostbusters!" back at you.
The paranormal comedy starring Bill Murray, Dan Aykroyd and Harold Ramis and directed by Ivan Reitman was an immediate smash with its mix of broad humor and special effects hitting a home run with kids and their parents. You probably remember the giant Stay-Puft Marshmallow Man that nearly destroys New York, but here are some fun facts that you might not know.
When Aykroyd was originally writing his script for the movie he intended for John Belushi and Eddie Murphy to play Peter Venkman and Winston, the roles that eventually went to Murray and Ernie Hudson. Belushi died while he was still working on the script and the shooting schedule for Beverly Hills Cop forced Murphy to drop out.
John Candy was cast initially in the role of Louis, who becomes possessed by the Keymaster. Candy quit after Reitman wouldn't let him do the character his way, which included speaking with a German accent. He was replaced by Rick Moranis, who was Candy's longtime costar on SCTV.
It's all in the marketing. The initial advertising for the movie was simply posters with the "No Ghost" logo, followed by the Ghostbusters' car (Ecto-1) being driven around New York City without explanation.
After the movie opened, Reitman created a trailer out of the commercial in the film which gave a working 800 number. The number led to a message of Murray and Aykroyd saying that they were out catching ghosts. It reportedly received an average of 1,000 calls an hour every hour for six weeks.
Stay-Puft Marshmallows is not a real product, but in the movie there's a pack of them in Sigourney Weaver's apartment as well as a billboard on the side of a building advertising them.
Rietman was originally planning on doing a film version of Douglas Adams' The Hitchhikers Guide to the Galaxy. When the director and his producing partners contacted Aykroyd about being part of the project he instead pitched them his ghost movie.
The famous theme song by Ray Parker Jr. was number one on the Billboard charts for three weeks. Parker has said in interviews that he was inspired to write the song as a jingle in line with the commercial in the film after he saw a TV spot for a local plumber while trying to overcome a bout of writer's block. Huey Lewis apparently disagreed with that version of events since he sued Parker claiming that the melody plagiarized his song "I Want a New Drug." The dispute was resolved by an out-of-court settlement.
On the DVD commentary, Rietman confirms that Aykroyd's original script was set in the future where there were teams of Ghostbusters all over the world, with sci-fi touches like the Ecto-1 flying, and would've been too expensive to shoot. Ramis, who co-wrote Animal House and Caddyshack, was brought in to tone down Aykroyd's vision.
Ramis originally wasn't going to act in the movie, even though he had previously starred with Murray in Reitman's Stripes. He joined the cast after he formed a close association with the character while writing the script.
Ramis' character Dr. Egon Spengler was named after German philosopher Oswald Spengler who wrote The Decline of the West, which argued that all civilizations eventually break down.
Paul Reubens (Pee-Wee Herman) was originally offered the role of Gozer the Destructor. After he declined, the role was reworked and went to Yugoslavian model Slavitza Jovan.
Michael Keaton was in discussions for both the Venkman and Louis roles but turned them both down. Chevy Chase was also considered for Venkman, while Jeff Goldblum and Christopher Walken were among those talked about as possible Egons. Comedian Sandra Bernhard was offered the role of the Ghostbusters secretary that eventually went to Annie Potts, while Michael McKean was one of the other actors considered to replace Candy in the Louis role.
A real jail was used for the scene where the Ghostbusters are locked up, and Aykroyd believed the location to actually be haunted.
The exterior for the Ghostbusters headquarters is the real Hook and Ladder No. 8 Firehouse in the famous Tribeca neighborhood of Lower Manhattan. The location was almost closed as part of the city's budget cuts in 2011, but was one of 19 firehouses saved in a restructured plan by then Mayor Michael Bloomberg.
The movie was the first to have veteran broadcaster Larry King appear as himself, while porn actor Ron Jeremy and pop songstress Debbie Gibson were both extras during the filming.
The scene where Weaver levitates was done in the same manner as a magician uses in a stage show. Reitman had worked with illusionist Doug Henning on the Broadway show Merlin and was familiar with how the trick was done.
Actor William Atherton, who plays the Ghostbusters' nemesis Walter Peck, has long claimed in interviews that for years after the movie was released he would have people yelling at him on the street for his treatment of Murray and company. He said that it even led to physical altercations in bars. Atherton went on to play sleazy reporter Richard Thornburg in Die Hard and Die Hard 2.
The ghost that wreaks havoc on the Sedgewick Hotel didn't have a name in the script. The model that was used on set was nicknamed "Onion Head" because of its smell and Aykroyd joked that it was the ghost of Belushi. Fans of the movie started calling it Slimer and the name stuck, eventually being used in the animated series that the movie spawned.
Unbeknownst to the producers, Filmation had made a short-lived animated series in 1975 called The Ghost Busters. Heading off a potential lawsuit, Columbia paid Filmation a fee for using the name.
Murray agreed to do the movie only if Columbia Pictures would provide the funding for a film version of the W. Somerset Maugham novel The Razor's Edge that he would star in. Murray's pet project was released later in 1984 and made $6.6-million at the box office. Ghostbusters grossed more than $238-million in the United States alone.
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Blue Jasmine, 12 Years A Slave and The Hunger Games: Catching Fire were feted for their onscreen outfits at the Costume Designers Guild Awards in California on Saturday night (22Feb14). Costume designer Suzy Benzinger, who dressed Cate Blanchett for her role in Woody Allen's Blue Jasmine, received the award for Excellence In Contemporary Film during the ceremony at the Beverly Hilton Hotel, while 12 Years A Slave triumphed in the Period Film category.
The team behind Jennifer Lawrence's costumes in The Hunger Games: Catching Fire was feted with the Excellence In Fantasy Film prize, and the TV categories were dominated by shows including British drama Downton Abbey (Outstanding Period/Fantasy Television Series) and House Of Cards (Outstanding Contemporary Television Series).
The lavish outfits worn by Michael Douglas in Liberace biopic Behind the Candelabra scored the production a win in the Outstanding Made For Television Movie Or Miniseries category.
During the ceremony, actress Amy Adams was presented with the Lacoste Spotlight Award, which honours stars whose "talent and career personifies an enduring commitment to excellence, including a special awareness of the role and importance of costume design".

More than 150 Oscar hopefuls including Leonardo DiCaprio, Sandra Bullock and Matthew Mcconaughey celebrated their nominations at the annual pre-Academy Awards party on Monday (10Feb14). Hollywood's biggest names came together for the Oscar Nominees Luncheon in Beverly Hills, California to toast their nods ahead of the glitzy prizegiving in Los Angeles on 2 March (14).
Other famous faces at the Beverly Hilton Hotel bash included Best Actress competitors Sandra Bullock and Meryl Streep, who are nominated for their roles in Gravity and August: Osage County respectively, as well as The Wolf of Wall Street stars Leonardo DiCaprio and Jonah Hill and their director Martin Scorsese.
During the event, Best Supporting Actor nominee Hill told reporters he hasn't written an acceptance speech, and if he wins, he plans to re-use the notes he put together when he landed a nod for 2011 drama Moneyball: "My Moneyball speech is in my safe. I figured I could just change a few of the names. No, the possibility of winning is so insane to me that it seems almost indulgent to write a speech."
American Hustle co-stars Amy Adams, Christian Bale and Bradley Cooper were also at the event, and The Hangover actor, who is going up against Hill in the Supporting Actor category, admitted he was surprised that Tom Hanks didn't land a Best Actor nod for either of his two films - Captain Phillips or Saving Mr. Banks.
Cooper said of Hanks' snub, "There's a lot of great people in this room. (But) I wish Tom Hanks was in there."